Industrial Education Circular No. 21. 


October, 1923. 


T 73 
. A23 
no. 21 
Copy 1 


DEPARTMENT OF THE INTERIOR 

BUREAU OF EDUCATION 

WASHINGTON, D. C. 


SUGGESTIONS ON ART EDUCATION FOR 
ELEMENTARY SCHOOLS. 

Report of an Illustrated Paper Read Before the American Federation of Arts, 
St. Louis, Mo., May 24, 1923. 1 

By Jane Betsy Welling, 

Director of Art Education, Elementary Schools, Toledo, Ohio. 


The immensity of the scope of any discussion dealing with the 
realization of aims in art education, or any other phase of educa¬ 
tion, brings to mind a staggering array of mighty words and a cloudy 
haze of generalities. But it is far from my intention to keep the 
ideas that are in this paper veiled by the kindly haze of mighty 
words. Rather do I prefer to stimulate enough discussion to bring 
some of our ideas of art education to our own critical review. There 
is a need for broadening art education to include all of its many 
related phases. Connected with the broadening of the field of art 
education, there are always two problems that must ever be con¬ 
sidered as one. The first of these problems deals with people in 
schools and might be stated thus—“What can people within schools 
do to put art in its proportionate place in outside life?” The second 
of the two problems deals with people outside of schools, and might 
be stated thus—“What can people now outside of schools do to put 
art in its proportionate place in school life?” 

All of us agree that there is need for more art—more of the con¬ 
tent of the vast subject called art. We know that color is a large 
and joyful part of art expression. It is everywhere around us in 
nature. Yet grown-up people seem to have lost some of the freedom 
of their love of color. They are hampered in their choice of color 
and in their use of color. They even have fear, an actual physical 
as well as mental fear, of color. One simple little experiment (or, if 
one wanted to he terribly formidable, one might call it a test!) that 

resolution was adopted at this meeting • t.hat special attention be given to the 
improvement of art in the schools. 

68846°—23-1 






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ART EDUCATION FOR ELEMENTARY SCHOOLS. 


has been tried in various public schools, and also at a State normal 
school, illustrates that there is yet an appalling need for more art 
experiences of an even more useful kind. 

It consists in placing on a convenient table many small blocks 
(approximately 2 inches wide by 3 inches long) of many-colored 
papers—all kinds of colors, bright colors, dull colors, dark colors, 
light colors, mixed colors, pure colors—a perfect flower garden riot 
of color. Those on whom the experiment was being tried were asked 
to choose and pin together any three colors that gave them pleasure. 
It was found that the little children of Grade I rushed to the table 
and hunted around for all the “queer,” unusual, and unfamiliar 
colors. The tabulated results of their choices showed that about 13 
out of 15 children in Grade I chose “related” colors; i. e., colors 
having a color relation made by one color being carried through the 
group. The Grade V children were more loathe to choose, more 
hesitant in making their choices, and the tabulated results showed 
that there was a marked decrease in the choice of unusual and 
“related” colors, and that about half of the children had chosen 
commonplace or contrasting colors in full intensities. The choices in 
Grade VIII were even more discouraging. There were only a few 
who chose unusual colors. The other choices showed a marked in¬ 
crease in the red-yellow-blue, red-white-blue, and red-yellow-green 
combinations. 

But the star performer on the color experiment was the educa¬ 
tional psychology class at the normal school. It took a 45-minute 
period to get a class of 18 to dare to choose any colors at all, and 
then the choices were hardly worth the time and effort expended on 
them. Variations of red and green rivaled variations of blue and 
orange for the first choice. The other choices were mostly of dull 
and dreary browns and grayed colors which thq chooser considered 
“ safe,” but to us they showed a most serious state of mind. Only 
an average of 3 out of 15 of these grown-up people chose the rare 
and out-of-the-ordinary colors from the group. The rest were all 
quite reminiscent of the colors of the billboards that one sees along 
the country roads, or of Christmas, or the flags of various nations. 

VALUABLE OPPORTUNITY LOST. 

The conclusion is obvious, for such reactions to color show, even 
to an optimist, that there is another valuable something being lost 
by the child in this process that we grown-ups call growing up. 
Color is one of the great delights that we can have in abundance. 
And, like the man who had read only three books in this era of 
widely circulated books, newspapers, and magazines, those who see 
only three colors are indeed solely handicapped. Opportunities to 

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ART EDUCATION FOR ELEMENTARY SCHOOLS. 


use colors, contacts with colors, and education in color science will 
fast open our eyes to the glories around us. 

But immediately we ask what more can we do than we are doing ? 
How can we avoid this fear, this unreasoning imitation of the bad 
tilings that are about us? All of these questions bring us back to 
the first part of the twin problem. What can schools do to put more 
art into outside life? 

Of course, schools can do many, many things. In general, they 
can become more real, more anxious to meet the same problems and 
cope with them in the same or better ways than people outside 
of schools do. But in our specific field of art we can, in schools, 
even more than we do now, organize our subject of art in such a 
way that the wide scope of its content will be evident and its use 
pointed out through the applications of art principles to every piece 
of work which involves choice. All art is an expression of ideas and 
feelings. If it is fine art, it is an expression in terms that other 
people can understand and learn to appreciate, and the finer the art 
the longer it lasts and the greater its appeal. 

Indirectly the schools, and directly those people who are respon¬ 
sible for the art work in schools, can put forth effort to eliminate 
the tendency to specialize and isolate the art work of the elementary 
school by showing its application, its close connection with other 
school subjects, and its usefulness in solving problems. 

There are needs for art training, art experiences in school that 
will reenforce and strengthen the natural urge for expression, the 
natural love of color, the natural feeling for order and arrangement 
(which some of us call design). There is need for an evaluation 
of art problems in order to stress the what and why of problems and 
not' just the how. There is need for less forced and violent emphasis 
on how to use the mere tools of art, for too great emphasis on the 
technic side of art tends to make the art degenerate into mere me¬ 
chanical repetition, mere hand skill. There is need for greater stress 
on the why (the “we need to know why this is valuable”) side, for 
this will almost automatically make technic the by-product that it 
should be in the elementary school. 

In an effort to emphasize this point, I am tempted to state the 
familiar line of Tennyson as though it read: “ For the work with¬ 
out the worker is bare.” There is necessarily a wide scope to the 
subject of art. There is necessarily a close connection between the 
“ art ” work that is needed in the elementary school and the so- 
called “ industrial ” or “ practical arts ” activities, which offer wide 
fields of opportunity for the application of art principles. (See 
explanation of industrial arts and practical arts in “ The Elementary 
School Curriculum,” F. G. Bonser.) 


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ART EDUCATION FOR ELEMENTARY SCHOOLS. 


ESSENTIAL RELATIONSHIP BETWEEN INDUSTRY AND ART. 

If art is an expression of ideas and feelings through choices pleas¬ 
ing to the individual, it is evident that there will be more urge for 
expression if there is a need for the expression. This being true, it 
seems improbable that art educators will fail to recognize the value 
of “industrial arts” subject matter and activities as related to art; 
and, once the connection between the now too often separated sub¬ 
jects of art and the study of the industries is recognized, it seems 
improbable that' art educators will hesitate to reorganize their art 
work in such a way as to include these necessary values. 

This does not mean that there will be any less work for the art 
educator. It means a careful reevaluation of the subject of art in 
order that all its valuable content material will be given due stress. 
It may mean a change in those art courses for the elementary 
school that are now called “ drawing,” for it is quite evident that 
drawing is to the larger field of art appreciation nothing more than 
penmanship (writing) is to the larger field of literature. 

This reevaluation will certainly mean that art principles and art 
technics will be stressed in relation to a real need for them, and that 
our aim will be to help people to think in terms of art, and to use 
art in all the thousand and one choices that are needed every day. 
There is a large task confronting art educators who must not only 
know the art principles and art technics to be taught, but must find 
ways of teaching them that will make them function most fully in 
the child’s school life. The art educator must not only search out 
the values of art but must ever be alert for opportunities to apply 
these principles. 

NEEDS OF CHILDREN THE BASIS FOR ORGANIZATION. 

The actual needs of children is the basis for the organization of 
the work. It seems that children in the elementary grades need 
experience and practice in the use of drawing and those phases of 
art dealing with graphic expression, with the general aim of making 
this tool of thought and idea expression a useful one—one that we 
use freely and naturally whenever we need it. If, as Stanford 
Briggs has so aptly put it in a paraphrase of Euclid’s famous 
straight line rule, “A picture is the shortest distance between an 
idea and the public mind,” just start to imagine how many super¬ 
fluous words we could save ourselves if our pencils could draw 
pictures as readily as they can write verbs and nouns! The idea 
sketches with which Hendrik VanLoon has illustrated his books and 
magazine articles illustrate an ease in this phase that is quite com¬ 
mon to children before our extremely formal instruction in drawing 
and perspective has frightened many of them into reaction. Mr. 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


5 


VanLoon has made “ The Story of Mankind,” “ Ancient Man,” and 
other of his writings, astonishingly more clear and forceful by 
means of the crude drawings by which he “ puts over ” his ideas. 

To be sure, these drawings are not technically convential, and to 
be sure a bit of perspective and “ how to draw ” might increase 
Mr. VanLoon’s power, but it is sadly true, also, that a bit of the 
usual art training might have kept him from ever drawing at all— 
ever even daring to draw pictures! More free illustration, more 
of the giving out of ideas in picture form all through the elementary 
school, will make drawing a much more useful and live subject. 

EXPRESSING THE CHILD’S IDEAS. 

•But this giving out of ideas in picture form, necessitates ideas 
that children themselves feel the need of expressing. These ideas 
can often best be found in the other work of the grade. Add to these 
crude picture-ideas, as the need arises, some pointed explanations 
of how best to “represent” certain difficult objects; give some 
practice in applying the conventions of drawing; and we will not 
always produce artists but we will help the average child to put his 
ideas in picture form—to talk with pictures. 

Children in the elementary grades need experiences in the use of 
color, with the aim of strengthening the natural (innate) love of 
color by adapting it for use. Contact with colors, and opportunities 
for using and combining them, will do much to improve color 
choices. Reinforce these experiences in the use of color by simple 
scientific experiments to show the source and the characteristics of 
color, and the effects of colors on each other, and all children will 
find color a great delight. 

SCIENTIFIC BASIS FOR COLOR STUDY. 

Color is a field to which modern science has contributed largely. 
The production of color sensations on the eye, and the consequent 
color reactions to varying stimuli, is an involved scientific study, 
but the results of these investigations have contributed largely to 
our knowledge concerning the use of color. It has now become 
evident that as art teachers we must put aside worn out and in¬ 
correct color theories and devices in order to give the most valuable 
and lasting color experiences to children. No longer can we be 
smug autocrats controlling color choices by our personal likes and 
dislikes. We can still keep our eccentricities, but we must search 
out a more stable basis on which to teach color to others. We must 
make a study of color and adapt the results of our study to the 
needs of children. It becomes necessary to provide a wide range 
of color experiences, for color comes in many forms and is not 


6 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


limited to the three or five color pans contained in the black enameled 
school water color boxes. There are colors in cloth, colors in dyes, 
colors in papers, colors in flowers, colors everywhere waiting to be 
experimented with and used in beautiful ways. 

Children in the elementary grades need opportunities to experi¬ 
ment in working out designs (design is often well named “ compo¬ 
sition,” “arrangement,” etc.), with the aim of affording experience 
in the use of this great' key to harmony. The late Arthur Wesley 
Dow, of Teachers College, Columbia University, made a great con¬ 
tribution to art education when he used design, the orderly arrange¬ 
ment of lines and masses, as the basis of all art expression. Knowl¬ 
edge of the great underlying principles of order and rhythm in 
space filling and arrangement, together with many opportunities 
for the application of these principles, give children and grown-ups 
a true appreciation of the importance of design. 

Children also need experiences that will give them the basis of 
an appreciation of the art of the past. Art history is too often 
limited to picture study and not made to include the whole field of 
•art expression—architecture, sculpture, industrial and craft prod¬ 
ucts, paintings, etc. The story of art is better interpreted in a 
wider sense, with the aim of stimulating the natural love of beauty 
through contact with the great art expressions of the past and 
present. 

EDUCATIONAL VALUE OF THE MUSEUM. 

There can only good come from the contact with the treasures 
stored in our museums. There is a great economic value in support¬ 
ing and in using museums of the right kind. Neither can the im¬ 
portance of having access to small inexpensive reproductions (prints, 
etc.) of art products be overestimated. Familiarity with the master¬ 
pieces of yesterday and to-day in time develops appreciation of those 
who produce fine things and of the fine things that are produced. 
Tt is only too true that “ ignorance breeds contempt,” and knowl¬ 
edge makes for tolerance and, in time, appreciation. This is true of 
many hand and machine made products. Appreciation of the best 
comes only through knowledge of the processes by which they are 
produced. The isolation of industry from art most often means a 
deterioration in the product and a loss to the individual who is 
forced to use it. An oriental rug has little or no meaning until we 
have seen many of them and until we know something of design 
and color and the process by which the rug was made. Knowledge 
of the many fine things that have been produced in the past will give 
standards for individual judgments, judgments not influenced by 
popular favor and the style of the moment. 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


7 


Children need experience in lettering (free-hand), and in printing 
(by hand and by machine), with the aim of making this tool of prac¬ 
tical value by giving opportunity for the use of all the most common 
means (pencil, brush, lettering pen, cut paper, wood block, etc.) of 
making letters and by stressing the principles of design that under¬ 
lie all good lettering. A study of machine printing is valuable, for 
the study of hand lettering as an end in itself can hardly be sufficient 
in these days when most of our printing for books and advertisements 
is done by machines. The development of the form of letters, of im¬ 
plements for making letters, and of materials to write upon adds 
valuable background material to the hand skill and judgment in¬ 
volved in good lettering. 

EXPERIENCE IN MAKING THINGS. 

Children need real experiences and practice in making things. The 
so-called construction work, handwork, craft work, measurement, 
mechanical drawing, pattern making, and other related skills, 
are most easily developed in connection with a study of industrial 
arts (F. G. Bonser, “The Elementary School Curriculum”), with 
the aim of developing powers for carrying out ideas and for good 
habits of work through familiarity with the means (tools), the ma¬ 
terials, and the methods for making work easier, more accurate, and 
more efficient. There are obviously great opportunities here for tying 
up these as well as many other phases of art expression with the 
usual school subjects by means of the so-called industrial arts subject 
matter. 

This outline of the art needs of children in the elementary school 
shows the possible scope of art experiences. Art is never to be sepa¬ 
rated from life activities, for as soon as an expression becomes 
visible it is made so by means of art choices and arrangements. In¬ 
dustrial arts subject matter seems to offer an invaluable background 
for the art work of the elementary grades. Its experiences and ac¬ 
tivities arouse the imagination and call forth hitherto unrealized 
powers. They give a stimulus to art expression and make a real 
need for it. Thus, the art becomes contributory to all the other work 
of the grade, and the study of the industrial arts and of art often 
becomes so closely merged that there is no vital distinction between 
them. The closer they are bound together the more naturally they 
fit together, just that much more obvious is their use and application 
to the problems of living. If industrial arts and art each function 
to a high degree, there need be no worry as to the differences between 
the two. Their similarities are the truly valuable contributions of 
each—their differences are immaterial. 


8 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 

PRACTICAL USES OF ART. 

As art educators we should constantly be trying to search out the 
connections with other subjects of the school in order to bring out 
an appreciation of the most real uses of the problems of art, in order 
to incorporate art choices in all work and as a part of every project 
and problem. There is an obvious need right now for art function¬ 
ing in its real place in everyday problems. A method of teaching 
that ties up as closely as possible with the real use of the material 
to be taught and a widening of the subject of art to include its many 
related phases will in many instances work a tremendous change in 
our present art courses. Such an attitude and program have the 
inevitable tendency of doing away with the isolation and over¬ 
specialization of art in elementary grades. 

In our art field, in schools, we can work to develop methods of 
teaching in accordance with the best modern educational standards. 
We can join together for an elimination of the tendency to stress 
outworn and special methods and aims of teaching art. We can put 
our accent on the connecting links with other subjects, rather than on 
the dissimilarities. We can keep up with the times, and stop trying 
to get the alert youth of the day on a side track to which he must go 
on a special car. 

An amusing concrete illustration of this point came to me two 
years ago from a State whose educational system it is well known has 
had explicit faith in examinations. A small boy in the grades was 
confronted with an examination paper bearing this problem: “ Draw 
a mug below eye level.” I have often wondered if the question had 
a glimmer of a double meaning for the little boy. His answer was 
graphic. He had drawn large and with firm lines the lower part of a 
face below the eyes! There are so many things for art people to keep 
up with—even modern slang. 

UTILIZING EDUCATIONAL VALUES. 

There is always need for a persistent effort to keep up with and to 
use the accepted improvements in educational method. As art 
teachers and workers we must have an understanding of the meaning 
and use of such educational terms as are the keynotes of modern 
educational theory and practice—the “ project problem,” the “ social 
sciences,” ; correlation,” u experiential activities,” u industrial arts,” 
etc.—in terms of our specific field of art. 

We must put more stress on attitudes toward work, habits formed, 
and appreciations developed. We must encourage the real, rather 
than fake and make-believe,’ materials and processes for problems. 
We must choose materials that are suited to the needs of the particu¬ 
lar problem. e must demand a faithful adherence to industrial 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


9 


methods wherever possible. We must avoid all fake materials and 
devices for doing work contrary to reality. We must take care that 
nothing will have to be unlearned. We must place emphasis on the 
economic use of all materials, the possibilities of using u leftovers,” 
whenever there is an opportunity, and the development of habits of 
neatness and thrift in the distribution and use of materials. 

Recently, I came across one of the most nonessential of timewasters 
masking in the name of an art project. In a certain first grade the 
children were intent on making a lolly pop of clay and placing it 
in a decorated paper cover. Shades of all the lolly pops that chil¬ 
dren have licked with such glee—a clay lolly pop! What could be 
more tasteless? 

If we will only put an adequate emphasis on the real needs of 
children for art expression, we will inevitably avoid just such ri¬ 
diculous activities and projects, for we find that the more we investi¬ 
gate, the more we feel certain that all useful things may become the 
medium of great art. Even a careless study of history shows that 
things useful have been the medium of great art in the past. The 
pottery of the Ming Dynasty in China, the gorgeous woven rugs of 
the Orient, even the church paintings of the early Italian period, 
and the wonderful stone carvings of the Gothic cathedrals—these 
are noted as the finest of art products, and yet they were made for use. 

Mr. L. L. Winslow, specialist in art and elementary industrial 
training for New York State, made a helpful analysis in a paper 
read at the Western Arts Meeting in May, 1923: 

There is no art and no industrial art except as these names still persist in 
the minds of some of us. All art is both fine and industrial, or it is not 
art at all. Art is made up of two parts, one of them now termed “ fine,’" 
the other termed “ industrial.” 

I would add further that such unity in a subject itself demon¬ 
strates the practicability of unity in the teaching of the subject. 
Much of the project method of instruction of which we have heard 
so much is based on this principle. Dr. Bonser states the aim of 
education very simply—“ Educational value is value in controlling 
conduct.” (F. G. Bonser, “ Fundamental Values in Education.”) 
If we grant this, and if we realize that education is to be called 
successful in as far as it controls conduct, and if we think in terms 
of the social group as a whole, it is easy to see how important is the 
fundamental subject of art in relation to our social needs. 

Our choices are dependent upon our basis of choice, our previous 
contacts, and our previous choices, and if “ Art is choice,” there can 
be no doubt as to the scope and value of art in meeting our needs 
and in the development of the powers for individual and satisfying 
choices. 


68846°—2J 


10 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


INTEREST OF THE PUBLIC IN ART EDUCATION. 

But we have yet to consider the second of the dual problems: 
“What can people outside of schools do to put art in its propor¬ 
tionate place in school life?” Again let me reiterate that they can 
do many things. They are as responsible as the people in schools and 
have a great unused power. 

For since the schools of a democratic country are one of the factors 
introduced to supply the needs of the whole group, it devolves upon 
those people outside of schools, who are really the majority, to make 
the demand that the schools, their agent, function in a useful way. 
It is a common statement that the vote was granted to women when 
the majority of women really wanted the vote. Why is it not an 
equally common idea that the work of schools is as it is because the 
products of schools, the great outside majority who have been in the 
schools, have not influenced a change for the better? And in our 
art field, why is it not evident that art instruction is as it is because 
we have not done our full share to make it better ? 


Acknowledgment .—Acknowledgment is made to Miss Charlotte Wait Calkins, director 
of art and elementary practical arts, and to the children and teachers of the Buchanan 
and Alexander schools, of Grand Rapids,, Mich., for the generous loan of pictures of 
work; to Miss Fern Joseph, of the Denver public schools, Denver, Colo., and Miss Mae 
Cowart, supervisor of fine and industrial arts, Oil City, Pa., for pictures of work done 
under their supervision; and to the children of the Western State Normal Training 
School, Kalamazoo, Mich., for the loan of charts made by them. 

J. B. IF. 


SUGGESTED BIBLIOGRAPHY. 


For further data relative to the points discussed in the bulletin, 

consult the following: 

Bonser, F. G. —The Elementary School Curriculum, Macmillan. 

Bonser, F. G. and Mossman L. C. —Industrial Arts for Elementary Schools, 
Macmillan. 

Dewey, J. —The Child and the Curriculum, University of Chicago Press. 

Dewey, J. —School and Society, University of Chicago Press. 

Dow, A. W. —Composition, Doubleday, Page & Co. 

Hartman, G. —The Child and His School, Dutton. 

Rood, 0. M. —Student’s Textbook of Color, Appleton. 

Russell, J. E. and Bonser, F. G— Industrial Education (a pamphlet), Teachers 
College, Columbia University. 

Tannahill, 8. B. —P’s and q’s. A Book on the Art of Letter Arrangement, 
Doubleday, Page & Co. 

Welling, J. B. and Calkins, C. W. —Social and Industrial Studies for Elemen¬ 
tary Grades. Based on Needs for Food, Clothing, Shelter, Implements, and 
Records, Lippincott. 

Winberg, L. —Color in Everyday Life, Moffat, Yard & Co. 

Winslow, L. L. —Elementary Industrial Arts, Macmillan. 


aiflOMmONnOdV 


ART EDUCATION FOR ELEMENTARY SCHOOLS. 


11 



Fig. 1.—How the various peoples of the world dress. 






IN TIE DATS OF THE COLONIES 


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ART EDUCATION FOR ELEMENTARY SCHOOLS. 



Fig. 2.—Clothing, industries, and implements of the colonial days. 



















ART EDUCATION FOR ELEMENTARY SCHOOLS. 


13 



Fig. 3.—Evolution of transportation by water. 



















MANY PEOPLE BRING THINGS TO OUR 


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ART EDUCATION FOR ELEMENTARY SCHOOLS 



Fig. 4.—Dependence of modern people upon each other. 











ART EDUCATION FOR ELEMENTARY SCHOOLS. 


15 



Fig. 5.- The Roman School—a group of Grade IV children. Alexander School, Grand 
Rapids, Mich., in a dramatization called “The Story of Schools.” Note the orator 
in the center holding the scroll, the austere Roman imperator, with his bodyguard 
at the right, the line of foot soldiers in the rear, and to the left, the Roman maiden 
and youths sitting before the slaves who each day conduct them to the orator’s 
school in the forum. All details of costumes planned and made by the children 
themselves. 



Fkj. 6.—The Colonial School—a group of Grade V children, Alexander School, Grand 
Rapids, Mich., in a dramatization of “ The Story of Schools.” The children them¬ 
selves planned the costumes, the setting for each scene, and the dialogue. 













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ART EDUCATION FOR ELEMENTARY SCHOOLS 



Fig. 7.—Front view of large playhouses worked out by children, of Grade III, public 
schools, Denver, Colo., in connection with a study of the industrial arts topic “ Shelter ” 
in relation to the home. 



Fig. 8. —The group of fifth and sixth grade boys of Buchanan School, Grand Rapids, 
Mich., who designed and carried out this large poster of an ideal home as the central 
unit of a window exhibit on the subject of “ Shelter.’ The exhibit was arranged by 
the public school art department through the cooperation and courtesy of the Grand 
Rapids Old National Bank. 














ART EDUCATION FOR ELEMENTARY SCHOOLS. 


17 



Fig. 9.—Mediaeval castle worked out by the boys of Grade VI, Oil City, Pa., in 
connection with a study of life in the Middle Ages. 



F IG . 10.—Children of the grade schools of Oil City, Pa., showing work carried out in a 
study of how cloth is made for clothing, ^ote the small modern looms made from 
packing boxes with rollers, heddles, and the fabric partly woven. At the lower right 
is an oriental rug loom worked out by one child to give the group some idea of the 
time and labor involved in the making of an oriental rug. 

















18 


art education for elementary schools 



Fig. 11.—Tied and dyed silk scarf worked out by grade children in Oil City, Pa., in 
connection with a study of how patterns are placed on clothing materials. 


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